ABOUT A FEW ASPECTS OF MY WORK
Within the processes of my inter-disciplinary Art-practice I am able to remain open for eternal changing in sensibility, that is, I continue to experiment. From early-on I was confronted with a special kind of dualism defined by the ideal of the relevant spiritual universality, and by the influence of that Central-European avantgardistic tradition, in which, Art itself, the Theater and Literature were never divided. Dealing with different cultural codes I was searching for the points of their interferency. As an East-European living in the West (in Germany), I fully integrated the trans-European experiences into my work. Moving from that point, my work has developed and adapted to in any context in the global World.
This fact illustrates the idea of a flexibile and mobile thinking process, which, according to the specific time and place, can develop into forms stimulated by the specific context or subject.
My works are permanently manifested at different, temporally parallel, functional levels of the mind, in the time signified by transitory. In order to take on some meanings and roles, I am using greatly varied media and materials. Instead of concentrating only on the language of Art, my experiments are concerned with reaching an understanding and reflection of complexity. Installations composed through the use of simple objects concentrate in meanings of the interactions, which are produced by the recycling of memory.
In my works I am interested in meanings which lie just above the presentable narrative truth of reality. Exactly there metaphors function no longer as metaphors as we preceive them / they simply cease to exist.
The ultimately created order of objects and signs does not even have anything to do with the past, although perhaps with the present, and certainly with the experience of the future.
Dealing with the knowledge about the life-giving and life-taking forces in the Nature and society, I'm interested not just for the possibilities in transformation, but for that very important, "initiating" level of mind at wich the objects can still be shown before formalistic simplification or minimalization. Therefore, this world is utterly artificial, existing only in that which we can still call Art. The recycling of memory, in itself, presents no documents. Before we can sense the future, we can see the deconstruction-process and traces of elements remaining from the system of reality.